Edouard Taufenbach

“Marzo 2020. La Ciudad Eterna; Roma, está desierta, confinada. Solo cuatro artistas rondan por la Villa Médici en un encierro artístico más hondo que nunca. Entre ellos, los artistas de la fotografía Edouard Taufenbach y Bastien Pourtout observan en este inédito episodio de tiempo suspendido la llegada paulatina de las golondrinas. Intrigados por estas aves —que no existentes en estado salvaje sino en convivencia humana— deciden capturar su vuelo, un movimiento de libertad tanto en este período sin precedentes como por siempre. Arriba del cerco se suceden los momentos robados a estos grandes migrantes, a veces recortados, desdibujados o detallados en lo que parece un cielo monocromático, pero el azul lavanda intenso pasa al gris pardo, al dorado o a un naranja fuego. Los colores del cielo llegan como un llamado a observar mejor la granularidad de nuestro mundo. El cuerpo de obra fue galardonado con el prestigioso premio “À quatre mains Swiss Life” (SwissLife Banque Privée), que premió al dúo fotográfico y al maestro Régis Campo, quien compuso dos piezas musicales para la serie. La secuenciación entrecortada del vuelo circular de las golondrinas con movimientos arremolinados de una música repetitiva, circula y abraza las obras…” Sara Huhounenq, Beaux Arts Magazine, Paris. Le Bleu du Ciel de Taufenbach se ha exhibido en Roubaix, Arles, Burdeos y recientemente en La Galerie Nationale Jeu de Paume de París, como parte.

“Marzo 2020. La Ciudad Eterna; Roma, está desierta, confinada. Solo cuatro artistas rondan por la Villa Médici en un encierro artístico más hondo que nunca. Entre ellos, los artistas de la fotografía Edouard Taufenbach y Bastien Pourtout observan en este inédito episodio de tiempo suspendido la llegada paulatina de las golondrinas. Intrigados por estas aves —que no existentes en estado salvaje sino en convivencia humana— deciden capturar su vuelo, un movimiento de libertad tanto en este período sin precedentes como por siempre. Arriba del cerco se suceden los momentos robados a estos grandes migrantes, a veces recortados, desdibujados o detallados en lo que parece un cielo monocromático, pero el azul lavanda intenso pasa al gris pardo, al dorado o a un naranja fuego. Los colores del cielo llegan como un llamado a observar mejor la granularidad de nuestro mundo. El cuerpo de obra fue galardonado con el prestigioso premio “À quatre mains Swiss Life” (SwissLife Banque Privée), que premió al dúo fotográfico y al maestro Régis Campo, quien compuso dos piezas musicales para la serie. La secuenciación entrecortada del vuelo circular de las golondrinas con movimientos arremolinados de una música repetitiva, circula y abraza las obras…” Sara Huhounenq, Beaux Arts Magazine, Paris. Le Bleu du Ciel de Taufenbach se ha exhibido en Roubaix, Arles, Burdeos y recientemente en La Galerie Nationale Jeu de Paume de París, como parte.

“After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

“After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

“After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

“After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

“After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator

Spéculaire “After years of research, Edouatd Taufenbach was able to work with an exceptional collection of anonymous images that director Sébastien Lifshitz has been gathering over several decades… By selecting with obsessive care, coherent corpuses of rare snapshots of leisure, pleasure and desire; he multiplied these silver on gelatin plates to be then fragmented and manually rearranged, sometimes using different scales, in a composition stemming from a rule of mathematical nature [that refers both to digital and the beginning of the cinema]. The latter is specific to each one of the original images which, in a way, impose it. It points to, highlights and amplifies a formal or narrative aspect. The curves of a body here, a gesture there… Conversely it also allows the complete reinterpretation of the image, the invention of a new one: Who would suspect that this bouquet of feminine silhouettes comes from a horizontal image featuring a rather sensible farandole of bathers? In any case Édouard Taufenbach has worked with an open jubilation. —I inject cinema, time and rhythm to my images. The viewer is the one who operates the fi lm strip— he says”. Étienne Hatt, Curator